Amph "If You Seek His Monument, Look Around You" - The Man of Steel and Announced Sequel Thread

Wow. That's just...wow. That's like a gangsta wannabe.

He would have had to seen only the last twenty minutes, because the interview and the Kryptonite scenes pretty much refer to it.

His body is so hard that he has to be careful to make sure that no one who bumps into him, won't walk away with a broken arm, or a dislocated shoulder. At full strength, he cannot feel bullets hitting him. He can withstand subzero temperatures and depending on his power levels, can survive the sun. It takes an intense blast of heat vision to burn him. He can be cut by it as shown in "Final Crisis: Legion Of 3 Worlds" when Superboy-Prime put a hole in his right hand. In terms of being punched, as I said, it takes a lot to really start affecting him.





This was his now infamous fight with Doomsday, back in 1992. The fight was four and a half hours, across three states. Multiple blows were exchanged, he was hit with a lot of tempered steel, slammed into the ground a few times and blown up a few times. Just before reaching Metropolis, his vision started to blur and his hands were hurting. A good chunk of the reason that he died, was that the solar energy which gives him his powers, was being drained through continuous use. At that point, the Post Crisis Superman, had never really gone the distance while under a yellow sun. As a result, he was burning through the solar energy more than he was replenishing it. By the time the fight ended, he was not as powerful as he normally was. This was a fight without Kryptonite, red sunlight and magic involved. In his second fight with Doomsday, despite having a different strategy, he wound up breaking his right arm fighting Doomsday. Prior to that fight, he did fight the Eradicator who had burned his face to the point that his eyes were swollen shut. In the years since this and prior to the recent reboot, he had absorbed enough sunlight that it took a lot more to inflict injuries on him.

As to concussions, a Kryptonian's biology is different with sunlight and thus their body's natural healing ability is faster.

 

I'll interject here and mention that during the hardcover novelization (The Death and Life of Superman), Superman does wonder about the possiblity of being concussed during his fight with Doomsday.

 

I've been a very ardent defender of this film, so it's not a case of hidebound conservatism that prompts me to say the Zimmer theme is not as iconic. It's just an opinion that's probably also true.

 

I also forgot to mention that in his first fight with Lobo during "Day Of The Krypton Man", he also took a nasty beating complete with a black eye and a swollen face.

In the Blue Box set, it's stated that though there were other versions of the Superman theme, it was Williams who really became iconic. So much so that the theme literally says, "Superman!". The fact that said box set sold out of three thousand copies quickly is testament to it. That it was given an additional three thousand because of high demand is just the icing on the cake.

 

What he can take in the comics is of little use to me, as the filmmakers will probably make up their own mind about it, and the filmverse is its own thing separate from the comicverse. I'm not familiar with the mythos outside of the Reeve films and 90s and 2000s television, but isn't it pretty rare for a Superman story to have Lois know Clark's secret from pretty much the start of the story? One can surmise that they're taking liberties with it. Though the years of lore across different versions and mediums does give us an idea as to how to ballpark it, so thanks for taking the time to give me some examples from the history.

The concussion part at the end of my comment wasn't really a specific reference to this film, but to action flicks in general. But thanks for addressing that as well. I was referencing the obligatory fist fight at the end of action films, where all the wounds and fatigue our protagonist and antagonist have amassed up to that point usually wears off into irrelevance, and they exchange jabs and kicks to the face for 10 minutes. Usually while things are blowing up around them, but they don't care because they have a score to settle, and the audience has to get its pay-off. See: every John Woo movie in existence. Case in point: at the end of Mission: Impossible 2 our male leads kick each other to the face wearing biker boots and smash rocks in each other's heads. Then they come back for more.

 

Yes, but it was done very recently in Smallville.

And, even though it's not a part of the New 52 version of continuity, I can actually see it catching on to the point that it becomes ingrained in most retellings of the mythos.

 

It just makes more sense that Lois knows. Also the idea that the people of Smallville -- Pete Ross, perhaps Lana Lang and all the kids (and their parents) who saw Clark do special stuff -- know, or strongly suspect, that Clark is Superman makes the story more realistic and more interesting. They don't disclose his identity because they owe him debts of gratitude for saving their lives.

Furthermore it raises future story possibilities, because what happens when a villain applies pressure to a resident of Smallville, or Lois for that matter, to give up the secret? Are Clark's friends justified in disclosing his identity when faced with torture, or worse, from the likes of Luthor or Metallo?

 

Yes, the film is its own thing. But in general, Superman doesn't feel pain the same way we do, which is consistent. And yes, this is the first time that Lois knows from the get go. However, "Secret Origin" was the first origin retelling that had Lois actually realize that Clark was pretending to be meek and mild mannered, though she didn't know why. "Lois & Clark" had her find out at the end of season two. Much sooner than normal.

 

No, it wasn't. Yes, she knows before he adopts the moniker of Superman and the classic costume, but she only finds out in the final season, and she was introduced in the fourth. She goes six years without knowing that Clark is "The Blur".

 

Yeah, fair point. I was just thinking in terms of the fact there was never a period where Smallville had the classic "glasses!Clark/Superman and Lois" dynamic.

But I suppose they did, just without the glasses and "Superman".

 

Personally Lois knowing Clark = Superman is something that I really like. Personally I'd like it if Man of Steel 2 even had Perry pulling a Lucius Fox circa Batman Begins and kinda knowing Clark is Superman but for plausible deniablility not pushing it.

I mean nearly all of Clark's generation in Smallville probably have put two and two together and figured out the kid they grew up with possessing godly powers is likely this new alien superhero their same age possessing godly super powers.

 

How's he gonna have his Clark Kent identity if everyone knows tho ?

 

Not "everyone" in the world knows who Clark Kent is. Of course, in this 21st century world of hackers and lightning-fast, nearly boundless information flow, a superhero maintaining something like a secret identity would be a minor miracle in and on itself.

 

In the film, that's certainly going to be apparent. Whether it plays a part going forward remains to be seen. In the comics, not so much.

 

Women scream because they're pushing out an object the size of a watermelon out an oriface the size of a lemon. I've had two kidney stones and while they don't hurt nearly as bad, they're quite painful.

While the dialogue always changes, the intentions are always the same.

It follows Christopher Nolan's approach to directing, which is non linear, as well as serving as life lessons that Clark reflects upon when faced with certain situations. You hate this, you'd hate "Highlander".

Car cannot movie without gas, which was why Lois was at the gas station right when the quake began. Turning the wheel without being pushed makes it kinda difficult to avoid a major seismic rip in the ground. Not to mention all the rocks which would crush her, if she got out of the car to run. That and Lois is supposed to die, in order to prompt Superman's time travel.

No, that's generally what the Jor-El A.I. says.

It's to make up for the last film lacking a fight scene.

Well, it could have been Clark digging up a treasure chest and opening in the living room, causing a rare and fatal disease to kill Jonathan and Martha, because he wasn't smart enough to use his microscopic vision. Even though he had been using it for years. And yes, that's how they died from 1961 through 1986. Jonathan's heart was only an issue from 1942 through 61.

Because Lois has feelings for him and he has feelings for her. Hence the kiss.

 

Then why ask why do they always show women screaming? Childbirth is the same no matter where you come from and on what planet you live on. See "Star Trek V", "Star Trek" (2009) and "Revenge Of The Sith"

That's because your life isn't based on 75 years of different interpretations that always result in romantic feelings developing. It's a wink and a nod.

 

Haven't read the first ninety-four pages, and I'm not going to write an essay . . . but it was one of the biggest disappointments I've had in a theater in probably four or five years. God, the first hour and a half was dreadful.

 

Let's not get crazy, here.

 

Typically, Hollywood does it because it's more dramatic that way. In this case, Lara has never given birth and couple that with the fact that it's been a long time since natural child birth, I'd say there's a good reason to scream at something that's inconceivable.

Uh, the C-section must be a retcon, because I don't recall that at all. As to something to dull the pain, it's probably too late for that. You know as well as I do that there's only a small window of opportunity where that's an option and then no more.

It's not that bad a film.

 

We're going to have to agree to disagree on that assessment, sir.

 

It's just typical Trek, with a few more humorous scenes than necessary because the last film did so well and the studio insisted upon it.

 

I honestly don't understand why any man would argue about the appropriate portrayal of childbirth on film with a woman who has actually given birth.